consideration, for all the others in their various attitudes also demonstrate clearly enough the thought and the intelligence that he put into this work, which was certainly appreciated by Antonio Pucci, who gave him 300 crowns for it, declaring that he was barely paying him for the colours. It was finished in the year 1475. [Illustration: ANTONIO POLLAIUOLO: DAVID VICTOR (_Berlin: Kaiser Friedrich Museum, 73A. Panel_)] Gaining courage from this, therefore, he painted at S. Miniato fra le Torri, without the Gate, a S. Cristopher ten braccia in height, a very beautiful work executed in a modern manner, the figure being better proportioned than any other of that size that had been made up to that time. He then made a Crucifix with S. Antonino, on canvas, which was placed in the chapel of that Saint in S. Marco. In the Palace of the Signoria of Florence, at the Porta della Catena, he made a S. John the Baptist; and in the house of the Medici he painted for the elder Lorenzo three figures of Hercules in three pictures, each five braccia in height. The first of these, which is slaying Antaeus, is a very beautiful figure, in which the strength of Hercules as he crushes the other is seen most vividly, for the muscles and nerves of that figure are all strained in the struggle to destroy Antaeus. The head of Hercules shows the gnashing of the teeth so well in harmony with the other parts, that even the toes of his feet are raised in the effort. Nor did he take less pains with Antaeus, who, crushed in the arms of Hercules, is seen sinking and losing all his strength, and giving up his breath through his open mouth. The second Hercules, who is slaying the Lion, has the left knee pressed against its chest, and, setting his teeth and extending his arms, and grasping the Lion's jaws with both his hands, he is opening them and rending them asunder by main force, although the beast is tearing his arms grievously with its claws in self-defence. The third picture, wherein Hercules is slaying the Hydra, is something truly marvellous, particularly the serpent, which he made so lively and so natural in colouring that nothing could be made more life-like. In that beast are seen venom, fire, ferocity, rage, and such vivacity, that he deserves to be celebrated and to be closely imitated in this by all good craftsmen.